SHORT CUTS 


TO 

DANCING 



By 

Ida Mae Roberts 




Copyright 1923 by Ida Mae Roberts 
Chicago, Ill. 





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SEP 13 1923 

©C1A7G0223 

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Foreword 

I BELIEVE you will find this system of instruction unusual 
in more ways than one. Not only does it teach one of the 
most simple methods of learning but it provides a rather interesting 
c<.story about the art of dancing that is startling in its “straight from 
the shoulder” manner of explaining what dancing really amounts 
;•. to today. 

The idea of speaking frankly is intended only to encourage pupils 
at the start by making them realize that dancing is not complicated 
or hard as so many think. That thought has always acted as a 
dangerous resistance toward learning to dance and has kept many 
from ,enjoying this delightful form of amusement and recreation. 

This system takes you immediately into the actual dancing steps 
which is another interesting feature. Of course there are other 
fundamentals to learn, such as leading, position, rhythm, etc.; 
however, these will be given proper attention after you have 
mastered the few simple steps. By that time you will have pride 
enough in your progress to grasp these other points more easily 
and you will the sooner find yourself a finished dancer. 

Volumes might be written about unessentials in dancing that 
would do you no good at this time; names of different steps, etc. 
This system is a “short-cut” toward placing you in a position of 
being able to accept dancing invitations immediately without fear 
of being ridiculed. More than that: know well your lessons in this 
system and you will be able to teach others and know that you 
are teaching correctly. 

Concentration of mind will play a big part in how .quickly 
you learn. Practise will play a part equally as big. These are 
the two most difficult tasks that will be asked of you and I think 
you will agree that is not asking too much. Taken as a whole, 
you will probably find the system interesting from beginning to 
end, you will get lots of fun out of it and through it all you may 
feel secure in the knowledge that you are using a method that has 
been tried and proven 100% perfect in every test. 


5 




Inside Information About Dancing 

B EFORE even the first lesson begins I am going to expose 
immediately, a few things about dancing that thousands do 
not realize. I only ask that you remember these startling facts 
as you proceed through each lesson because once you realize the 
truth about dancing you will take hold with a new determination 
and all the more quickly become the efficient dancer you would like 
to be. 

The following facts should overcome in you any fear that you 
may not be able to learn quickly. 

The steps used in a Waltz, Fox-trot and One-step are exactly 
the same. There is no more difference in the three dances than 
there is between your walking three blocks, each one of the three 
a little faster than the other. In other words the steps are the 
same and only the time is different; the Waltz is slow, the Fox-trot 
a little faster and the One-step still faster than the other two. 

The waltz is the key to all three dances. There are only three 
steps in the Waltz and the same three are employed in the Fox¬ 
trot and One-step and don’t let anybody tell' you differently. 
Master the Waltz in its rather slow, graceful rhythm and you will 
have no difficulty with any dance. 

As I am talking fundamentally, I will not say that it is not 
possible to later on vary your dancing steps a little for these three 
dances, but I do say that you will never, if iyou dance the remaining 
days of your life, get entirely away from the steps that you are 
about to learn. That is impossible. 

More than that, I will say that nine people out of ten use mostly 
only these steps, the ones contained in this system and these nine, 
if they have taken care to use them correctly, are the best dancers 
in the country today. 

You have often heard friends say, especially girl friends, that 
the difficulty in dancing lies in the fact that “everybody dances 
differently.” That is true in one sense only and that is that those 
who dance “differently” are usually poor dancers. Good dancers, 
those who prefer to be graceful and smooth rather than to perform 
stunts, are the ones who use the very steps you are to be taught. 
Consequently, from the beginning, you are pointed toward being 
a good dancer through the use of the very steps they employ. 

6 


The Square—Key to All Dancing 



STA/rrm pqsitiqh 


The reason why this method of teaching is so simple and satisfactory will be apparent 
from the start. Notice that the entire system is built around a certain definite principle 
in the form of an imaginary box or “square.”' To say the least it is understandable and 
gives quick access later on to each stage of development. Yet even in the end the “square” 
is not lost sight of altogether, conclusive evidence of the important part it plays. 

7 











Lesson One—The “Square ” 


O N the floor, or on card¬ 
board or a piece of heavy 
wrapping paper, draw a box or 
“square” 24 inches long by 18 
inches wide. May also be imag¬ 
inary. 

Stand erect in lower left-hand 
corner of “square.” 

1. Step forward with left foot 
to upper left-hand corner. 

2. Bring right foot diagonally 
to upper right-hand corner. 

3. Bring left foot alongside of 
right in upper right-hand 
corner. 

That is half of the “square.” 

Now complete it. 

4. Bring right foot back to lower right-hand corner. 

5. Bring left foot diagonally back to lower left-hand corner. 

d. Bring right foot alongside of left in lower left-hand corner. 

That completes the “square” and brings you back to where you 
started. 

Note that steps 1 and 2 always take the feet apart. 

Note that steps 2 and 3 always bring the feet together. 

Be able to do the “square” 25 times without a miss. Practise 
at least fifteen minutes. Invite others to try it with you and see 
who misses first. 

After a few times try not to look down. Look up. 



srA/rrm position 


8 














Notes on Lesson One 

1 AM going to assume that at least 15 minutes have elapsed 
since the first lesson and that in that time you have been 
practising and concentrating on the “square” so that you can do 
it without getting confused. Even now you should be able to do 
it 25 times without a miss if you will only concentrate. Remember 
that looking down will confuse you more than anything else. 

A close study of the small chart on the opposite page is, of 
course, necessary. Especially notice that the 3 black figures do 
not represent the first three steps—they simply denote the left 
foot, just as the 3 outline figures denote the right foot. Follow 
the numbers in the chart to know which foot to use, and when. 

It may interest you to know that when you memorize the steps 
in the “square” thoroughly, you will be finished with the hardest 
part of this entire system. Another good thing about it is that 
it is something that can be practised anywhere and any time and 
in the smallest space. You can even practise it secretly if you 
wish. Just move your feet around under your desk at work, for 
instance. Nobody would see you doing it. 

By the way, when you are able to do the “square” 25 times with¬ 
out a miss, you may forget if you want to, all about any tape line 
measurements such as mentioned in the first part of Lesson One. 
Those dimensions merely represented the average width and length 
of an ordinary front and side step, in fact, they were a little bit 
exaggerated so that you would more clearly understand what was 
meant by completing a “square.” Forget actual dimensions if you 
want to but don’t forget the “square.” We are going to use it a 
great deal in the very next lesson. 

Perhaps you have noticed that no concern has been given to 
whether the pupil is a gentleman or lady. That is because of 
another advantage this system has over others, in that almost up to 
the end, both sexes learn alike, yet when it comes time to dance 
with another, their work has been so cut out for them that it is an 
easy matter to make the slight adjustment necessary to take either 
the man’s or lady’s part. 


9 


Lesson Two—Circling the Room 

T AKE position once more in lower left-hand corner of the 
“square.” 

Stand erect. Both arms extended sideways. 

Begin by using every step in “square” and as you do gradually 
work to the right until you have made a complete circle and find 
yourself back where you started from. 

In completing each series of 6 steps take step No. 2 a little 
longer and farther to the right than the others—then let steps 
3, 4, 5, 6 and 1 follow in their natural sequence. 

Do not for any reason change from the three steps or rather six 
steps that make up the “square.” 

Continuing, make the “square” take you straight across the room 
instead of in a circle. 

In completing each series of 6 steps, take Step No. 1 a little 
longer and farther forward than the others—then let steps 2, 3, 4, 
5 and 6 follow in their natural sequence. 

Now straight back across the room to where you started. 

In completing each series of 6 steps, take step No. 4 a little 
longer and farther hack than the others—then let steps 5, 6, 1, 2, 3 
and 4 follow in their natural sequence. 

Alternate, using the “square” with which to circle the room and 
to go straight across the room and back. 

Arms extended sideways will help you balance. 

To acquire grace, rise on toes on steps 2 and 3. Come down off 
of toes on the first step. 

Do not look down. Look up. 


10 


Notes on Lesson Two 

C AN I assume that you have also practised 15 minutes fol¬ 
lowing Lesson Two? If that is so, as impossible as it may 
seem, you are ready right now to test your ability to music, and 
after only two short lessons. 

The point about acquiring grace is a valuable one. By rising on 
your toes on counts 2 and 3 you will find it enables you to get a 
gentle swing to your dancing that will be more noticeable with 
music. 

Liken it to a slight rise and fall of a body of water but by no 
means exaggerate it as it would not then be smooth dancing. Try 
and strike a happy medium. 

You will notice that the same performance will help your sense 
of rhythm. A sense of rhythm and gracefulness go together. 
One helps the other to become apparent and a very gentle rise and 
fall while doing your three steps will bring you both. 

Something else about rhythm. It isn’t difficult at all to keep 
time to music. The truth is it shouldn’t be any harder to keep time 
in dancing than it would be to parade behind a band of some kind 
in the street. To keep in step you would simply have to be in time 
and if they were playing a funeral dirge you would know enough 
to barely crawl along. If they were playing a lively march, how¬ 
ever, you would also know enough to step lively. 

Lesson Three for the first time allows you to get away from the 
“square” although the same combination of steps are used. Instead 
of taking three steps forward and three backward, it will show how 
to mix them up a little by going forward continually or backward 
continually. 

Whenever in doubt, go back to the “square” however, and you’ll 
probably find where your trouble is. 


11 


Lesson Three—Getting “ 
“Square” 



1. Step forward with left foot as usual. 

2. Bring right foot diagonally forward as usual. 

3. Bring left foot alongside of right as usual. 

4. Step forward with right foot. 

5. Step diagonally forward with left foot. 

6. Bring right foot alongside of left. 

Continue from one end of the room to the other 
and come back in this manner: 

1. Step back with right foot. 

2. Step diagonally back with left. 

3. Bring right foot alongside of left. 

4. Step back with left foot. 

5. Step diagonally back with right. 

6. Bring left foot alongside of right. 

Continuing your practise of these steps, use them 
to circle the room. Move to the right, using for¬ 
ward 3 steps continually. (See upper half of illus¬ 
tration.) Make several complete rounds of the 
room in this manner. 

Now circle the room backwards, using the back¬ 
ward 3 steps continually. (See lower half of illus¬ 
tration.) Make several complete rounds of the 
room in this manner. 

Note that two successive steps are never taken by 
the same foot, in this lesson or any lessons in this 
system. If you have finished with the left foot, 
the right foot must come next. 

Do not look down. Look up. 


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12 


















Notes on Lesson Three 


L ESSON Three was probably easy for you especially if you 
i know the preceding lessons well and understand all about 
the “square.” Yet it was none the less important because by it you 
are now able to go through the “square” when you want to or you 
may vary the program a little as explained. 

Lessons Two and Three are especially closely related, don’t 
you think? In each lesson you are asked to practise going straight 
forward and backward across the room and you are asked to circle 
the room both forward and backward. The only difference is that 
in Lesson Two you use all six steps in the “square,” while in Les¬ 
son Three you use only the first three steps. 

Only three lessons and with just a few pointers about the correct 
dancing position, you certainly need not be afraid to test your 
ability to music. The steps you have been taught are primarily 
Waltz steps and I suggest that you try a Waltz first. Neverthe¬ 
less, when afterward you try a Fox-trot or One-step, don’t change 
anything but your time for a while. 

The reason for the huge success of this system of teaching must 
have been apparent to you long before this or as early as the first 
lesson. The idea is to teach you about three-fourths of what all 
dancing amounts to in a very small space or “square” and when the 
student thoroughly understands that, he or she will find it a simple 
matter to “spread out” and cover all the ground they want to. 

Some methods of teaching confuse the student by utilizing more 
space than is actually needed and consequently the beginner 
imagines it is necessary to learn just that many more steps to “get 
around.” 

Please read carefully what Lesson Four has to say about using 
the “square” as a means of bringing you together with a partner 
in such a way that you will hardly be conscious of the fact that you 
are dancing with or even close to anyone. Study this lesson well 
even if a partner is not available at this time. 


13 


Lesson Foui—Dancing “Together ” 



M AN takes position opposite lady, six feet distant. Arms of 
both extended sideways. 

Man starts: Step forward with left foot and complete the 
“square.” 

Lady starts: Step back with right foot and complete the 
“square.” 

Both make start at same time, the man steps forward with left 
foot and completes the “square” as lady steps back with right foot 
and also completes the “square.” 

Repeat this exercise several times, each completing the “square” 
but in “opposites” at six feet apart. 

Do not look across at partner’s feet. Look up. 

Continuing the “square” in “opposites” gradually come closer 
and closer together until your outspread hands touch (see illus¬ 
tration). 

Continuing the “square” together in this manner, move gradually 
around the room (see Lesson Two). 

Do not look down. Look up. 


14 




Notes on Lesson Four 

1 THINK you will agree that Lesson Four was an exceedingly 
interesting one because I have found in my experience that the 
pupil, especially in his early lessons often wonders how he is ever 
going to be able to first attempt dancing with someone else. This 
lesson proved to you the simplest kind of a way, don’t you think? 

When you have taken your position six feet apart and you start 
to come closer and closer together, the idea is to make your coming 
together so natural and gradual that when your hands touch, either 
should be hardly conscious that they are at that moment dancing 
with anyone else. 

Give Lesson Four a good trial. And after you do, you will find 
that stepping right up to your partner as soon as the music starts 
will no longer confuse you—dancing with someone will be just as 
natural as dancing alone, at least so far as going through the steps 
are concerned. 

Having your hands outspread enables you to balance a little 
better and besides, it is after all, the first evolution of the correct 
dancing position which you will be told about in the Seventh Lesson. 

A word about the meaning of the word “opposites.” You under¬ 
stand of course, that you can start the “square” either frontwards 
with the left foot or backwards with the right foot, and with one 
person starting it with the left foot front and the other with the 
right foot back, that is a case of both doing the same “square” but in 
“opposites.” It really means nothing more than defining the man’s 
part from the lady’s The man starts with the left foot forward. 
The lady starts with the right foot back. 

In dancing together, the man leads and usually goes forward, 
“backing” the lady. This enables him to see where he is going and 
keep from bumping others. This is especially true in the Fox-trot 
and One-step. In the Waltz there is more of a revolving move¬ 
ment and one goes forward about as much as the other, but as 
there are more Fox-trots danced these days, it is common to talk 
of the man going forward. 


15 


Lesson Five—The “Square” and the 
Fox-Trot Walk Combined 

1. Step forward with left foot. 

2. Bring right foot diagonally forward. 

3. Bring left alongside of right. 

Step forward with right foot and walk 4 
steps bringing left alongside of right on the 
4th step. 

4. Step forward with right foot. 

5. Bring left foot diagonally forward. 

6. Bring right foot alongside of left. 

Step forward with left foot and walk 4 
steps bringing right alongside of left on the 
4th step. 

Follow the same principle going backward. 

1. Step back with right foot. 

2. Bring left foot diagonally back. 

3. Bring right foot alongside of left. 

Continuing, step back with left foot and 
walk 4 steps bringing right foot alongside of 
left on the 4th step. 

4. Step back with left foot. 

5. Bring right foot diagonally back. 

6. Bring left foot alongside of right. 

Continuing, step hack with right foot and walk 4 steps bringing 
left foot alongside of right on the 4th step. 




16 








Notes on Lesson Five 

A LTHOUGH Lesson FIVE only speaks about the Fox-trot 
^ the very same walking steps are used in the One-step. 

A review of Lessons One, Two, Three and FIVE will show that 
we have already covered quite a variation of steps as they may grow 
out of the “square.” In other words, you are at no time restricted 
to the “square” only. You may us£ only part of it or all of it or 
I might even say none of it if you wanted to go to that extreme 
while dancing either a Fox-trot or a One-step, but you will most 
likely use all of it in the Waltz because it consists primarily of 
Waltz steps. 

And you will find too, that in the beginning when you do find 
yourself out of step, and those mistakes will happen occasionally, 
you will be only too glad to refer back to the “square” to get your 
bearings. It is a mighty handy thing for reference. 

In telling you to take 4 walking steps, that did not mean that it 
is customary to take that particular number. Take six or eight 
if you wish or do not take any. That is a pretty strong hint that 
the Fox-trot is danced to your own way of liking, isn’t it. That 
is just the case. And it is just one reason why it is such a popular 
dance today and why most orchestras play more Fox-trots than any¬ 
thing else. 

Using a walk in the One-step will not be so easy for one reason. 
The fast music will have ,a tendency to make you walk perhaps 
faster than it is really necessary and you are apt to find yourself 
off balance. In that case slow up a trifle and employ the one- 
two-three step. 

Remember this always regardless of what dance is being played. 
It is a dangerous thing to dance fast. You may be able to do 
it and keep in time but it is doubtful. On the other hand, you are 
safer if you go slow. 


17 


Lesson Six—Waltz Time to the 
“Square” 



Step forward with left foot and count ONE, 

Bring right and left together and count—two- 
three. 

Accent always on the first step: ONE -two 
three. 

Step back with right foot and count ONE, 

Bring back left and right together and count— 
two-three. 

Six steps necessary to complete “square” take 
about five seconds. 


Fox-Trot Time to the “Square” 

Step forward with left foot, then right and 
count— one-TWO. 

Bring left alongside of right and count—three. 
Accent always on the second step: on e-TWO- 
three. 

Six steps necessary to complete “square” take 
about four seconds. 


One-Step Time to the “Square ” 

Step forward with left foot, bringing right and 
left together, counting—one-two-three. 

Step back with right foot, bringing back left 
and right together, counting—one-two-three. 
No accent on any one step, the time being equal 
between the three steps. 

Six steps necessary to complete “square” take 
about three seconds. 




18 





Notes on Lesson Six 


A S EXPLAINED in the Notes on Lesson Two, you should 
have no difficulty in keeping time to the music for these 
three dances. Give Lesson Six a good tryout by studying it to 
Phonograph or piano music and the difference in time will quickly 
come to you. First try to count with the music without attempting 
to dance. 

Remember, the Waltz is slower than the Fox-trot or One-step. 
Another point about the Waltz that will help you is that it can 
hardly be danced too slowly without being in time, whereas it can 
be danced too fast very easily. By this I do not mean to suggest 
that you drag it out too long, because there is a correct tempo for 
the Waltz the same as there is a correct time for the other dances, 
but in an emergency, such as when it seems impossible to keep time, 
then slow down rather than speed up and you will soon get back 
in step. 

The Fox-trot time should be even easier to master than the Waltz 
time. If in dancing a Fox-trot you have difficulty in keeping cor¬ 
rect time, you have the option of discontinuing the one-two-three 
steps and can start in to simply walk which is the easiest kind of-a- 
way to get back into the proper swing. Too, don’t forget that you 
will also get a lot of help from your partner who is not going to 
let you get out of time or step if he or she can help it. 

I would not even say that the One-step should be any trouble 
for you although most people dance this too fast. They seem to 
think that they must keep in step with the drummer who is usually 
going about a mile a minute while playing his part of this particular 
dance. The fact is that even though a One-step is faster than the 
others, it can be danced most easily if you use the one-two-three 
step rather than the fast walking step—you will keep a better 
balance and consequently better time. Do not try to go too fast. 
Take it easy. If you have a great deal of difficulty, try slowing 
down. 


19 


Lesson Seven—Proper Dancing 
Position 


Mans position: 

Lightly hold lady’s ex¬ 
tended right arm or hand with 
left hand. Place right hand 
with finger tips reaching to 
center of lady’s back or per¬ 
haps a little higher than this, 
your right arm curving just 
under lady’s left arm. 

Lady's position: 

Extend right arm in a 
graceful curve and rest hand 
lightly in extended left hand 
of man. Place left hand and 
arm just over man’s right arm 
and rest it lightly just back of 
right shoulder. 

The illustration shows lady’s 
head turned toward her ex¬ 
tended right arm. The lady 
may also face over man’s right 
shoulder — either position is 
permissible. 

Do not stand too close together. Do not stand too far apart. 

Do not lean toward your partner or away. Dance erect, and 
directly in front of partner . 

Dance mostly on ball of foot with feet close together. 

If you are considerably taller than partner, do not lean over 
in an attempt fo make yourself look a few inches shorter than 
you are. 

If you are natural and comfortable in your position it will not 
take any more effort to dance than it is to walk. 

Never look down. Look up. 



20 



Notes on Lesson Seven 


I NSTRUCTION in the correct position for dancing should be 
studied well, yet it is one part of this system that will most 
likely come very easy to you. 

It is a fact that most dancers hold their partners at least so that 
their position is beyond severe criticism. True, some look a great 
deal better than others and it will behoove you to be so near per¬ 
fect that you will qualify for this class. There is nothing so pretty 
on a dance floor as a good position and when you hear somebody 
remark that a certain couple look so nice together, reference is 
nearly always made to their position and general appearance and 
not to anything fancy in the way of steps. 

In getting accustomed to the proper dancing position, a good 
stunt is to take your position in front of a mirror. Dance in front of 
a mirror occasionally. If you are satisfied with what you see, then 
you are probably doing all right. On the other hand, if there are 
any faults to be corrected, you will have the chance to see them 
and set about to correct them. 

When you look in the glass, see if your arms are held fairly 
high. See that you are dancing on your toes most of the time. 
See that you are not bending over to shorten your height, if you 
happen to be tall. See if your partner’s hand is placed on your 
shoulder in the right position. See if it looks as though you are 
holding your partner firmly or loosely, etc., etc. 

Unfortunately our closest friends, those whom we attend dances 
with, rarely criticize our mistakes. And naturally, because to them 
it would hardly be tactful and would perhaps cause hard feeling. 
Another thing, you would not want them to do it anyway, and con¬ 
sequently if you do not recognize your own mistakes and correct 
them, you may for a long time go without enjoying the full bene¬ 
fits of dancing—part of which is being known as a good dancer— 
one who is good to watch. 

A little vanity in dancing is a good thing but this does not 
mean conceit. 

Above all, never look down. Look up. 


21 


Lesson Eight—How to Lead 


O BACK to the “square.” 

Assume dancing position (see Lesson Seven). 

Man steps forward with left foot, urging ,lady’s extended right 
arm backward ever so slightly. Lady of course, steps back with 
right foot. 

Rising on toes for steps two and three will be sufficient signal 
to lead your partner into taking corresponding steps. 


Completing the “square,” man steps back with right foot, and as 
he does, employs just the slightest pressure of his right hand on 
lady’s back indicating that she is to step forward as he steps back. 


Now use steps in Lesson Three where you go continually front¬ 
ward or backward. As man goes continually forward he may indi¬ 
cate his intention of going to one side or another by ever so slightly 
turning his entire body to that side simultaneously with taking step 
number two. 


The same principle applies in taking back steps. Slightly turn 
the entire body in taking step number two. 

Man or lady should not swing arms up or down in dancing 
together. Especially arms extended—they should remain station¬ 
ary in one position after it is once taken. 

Note: You will find in going backward, you will necessarily 
have to take a slightly longer step than you use in going forward. 
And as the lady’s part takes her backward most of the time, she 
should cultivate a long step. It will help her to follow more easily. 

To do this, pay particular attention to the position of the toes. 
Make them step backward as far as you can. Practise this one 
important point constantly. Make it a habit to stretch the toes 
backward—practically make the toes lead. They lead in going 
forward naturally enough—they also lead in going backward. 


22 


Notes on Lesson Eight 

O RDINARILY it would be difficult to give a lesson on “How 
to Lead,” especially through correspondence. But that is 
not so in this case. This system gives you the advantage of prac¬ 
ticing that factor by simply going back to the principle around 
which this system is constructed, the “square.” 

There are only a few fundamentals to learn about leading just 
as there are only a few fundamental steps to learn, and the “square” 
will suffice for all that you absolutely have to learn about both. 

One of these fundamentals is being certain to take your posi¬ 
tion directly in front of your partner. That is most important. 
The most accomplished leader cannot lead or dance well with a 
lady who is away off to one side. And it will be just as difficult 
for a lady to follow well under the same conditions. 

Some students believe that it helps them to count as they dance. 
I do not forbid counting, but I certainly do not recommend it 
even in the very beginning. If you know your steps well it shouldn’t 
be necessary to count. Then again, it is a sure sign of a beginner 
and when your partner finds that out he or she immediately loses 
confidence in your ability. 

One paragraph in Lesson Eight speaks about turning your body 
to one side and then the other. The benefit of doing so will be 
more noticeable when you wish to indicate to your partner that 
you are going to make a complete turn. 

In going straight forward or backward the ordinary dancer will 
know that the use of one foot is followed by the use of the other, 
so a great deal of leading will not be necessary until you want 
to make a complete turn or half turn. 

It won’t be long before you will find it unnecessary to turn your 
body to one side and the other no matter what you want to do. 
I suggest doing so only in the beginning or until you get fairly 
started on your dancing career. But even in the beginning it should 
encourage you to know that a good dancing partner will need little 
leading, or if my pupil is a lady, you will have no trouble following 
a good man partner. This entire lesson on leading is merely for 
an emergency. 


23 


Questions and Answers 

Q. What is the purpose of the '‘square ?” 

A . To familiarize the pupil with the principal three steps used 
in the Waltz, Fox-trot and One-step in a way that will be the 
most understandable. 

Q. Is it possible to use only these three steps during an entire 
Waltz, Fox-trot or One-step, if so desired? 

A . It is. 

Q. Which dance has the most variations from these steps and 
how is it varied? 

A . The Fox-trot. It is easily varied by using a few ordinary 
walking steps between using the steps taught in the "square.” 

Q. Are the steps in the Waltz varied to any extent? 

A. Seldom. 

Q. If a wrong step is made in dancing, will it help to look down 
at the floor to correct it? 

A. Absolutely not. Never look down. Look up. 

Q. In attending your first dance in public, what course would 
you pursue in endeavoring to keep from making mistakes? 

A. During the first few dances, stick to the "square” as a safety 
measure until you have gained confidence. 

Q. Is it correct, at any time, to take two successive steps with 
the same foot? 

A, No. A step with one foot is always followed by a step with 
the other. 

Q. Is there any rule to follow in the length of each step taken? 

A. No. Dimensions are given in Lesson One only to more 
clearly illustrate a certain space or "square.” 

Q. In the Waltz, what two steps take the feet apart? What two 
steps always bring them together? 

A . Steps 1 and 2 take the feet apart. Steps 2 and 3 bring them 
together. 

Q. After taking the first 3 steps beginning with the left foot, 
what is the next step to continue forward? 

A. Right foot forward for the next three steps, then left foot 
forward for the next three, etc. 

Q. Are the series of 3 back steps taken in the same manner? 

A. Yes. 


24 


Questions and Answers—Continued 

Q. How is it possible to overcome a tendency to get confused in 
dancing with a partner, for the first time? 

A. Get partner to stand six feet opposite, then each going 
through the steps in the “square,” gradually come closer and closer 
together until you touch and you will hardly be conscious that 
anyone is even near to you. 

Q. How many walking steps are usually combined with the 
“square” steps in dancing a Fox-trot? 

A. Walk as many steps as you choose. 

Q. What is the difference in time between the Waltz, Fox-trot 
and One-step? 

A . 6 Waltz steps in the “square” take about 5 seconds. 6 steps 
in the Fox-trot take about 4 seconds. 6 steps in the One-step 
take about 3 seconds. 

Q. In counting for the Waltz, which step is accented? 

A. The first step as: ONZ^-two-three. 

Q. What step is accented in the Fox-trot? 

A . The second step as: one-TPFO-three. 

Q. What step is accented in the One-step? 

A. None of the three steps in the One-step are accented. 

Q. What direction is usually followed in dancing? 

A . The man going forward, has right arm on side nearest wall, 
the lady going backward, has left arm on side nearest wall. 

Q. As a beginner in dancing, is it advisable to seek dances with 
a partner far superior to yourself in dancing? 

A . Dance at every opportunity with someone who is a better 
dancer than you. That kind of a partner will add 25% to your own 
immediate efficiency, you will find. Any difficulty that you 
encounter will probably come only when you dance with someone 
who is not as good a dancer as you are. 

Q. What about swinging the extended arms up and down—will 
it help in keeping time? 

A. No. Always hold arms extended outward in one position and 
keep them there. Swinging will not help in keeping time and it is 
considered very poor form. 

Q. Would you be willing to write and express your opinion of 
this system of teaching? 

A. -. 


v 25 



My Dear Friend: 

Now you know my secret method of teaching—and for the long¬ 
est time it was even more of a secret, because only residents of 
Chicago who took personal instruction, could find it out. I have 
always felt and knew that I had perfected a system of teaching 
that was unlike any other used and there is not anyone anywhere 
who can dispute this—who can truthfully say that they know 
another teacher using this method in person or by mail. My adver¬ 
tising boasts that it is unlike any other and I think you will agree 
that my advertising is truthful. 

It is strange how I first came to put this system in printed 
form and sell it by mail. For a long time I had considered doing 
so but had a most peculiar reason for hesitating. I was afraid that 
I had invented a system so easy, so simple , and so quick to learn by, 
that put in printed form it would not be impressive enough—that 
because it could not possibly consist of 58 lessons instead of 8, my 
readers would not appreciate its value . 

In the meantime, the very ones who had received personal instruc¬ 
tion from me, who had occasion to realize and benefit by the big 
value of these few lessons, were continually urging that I adver¬ 
tise my system generally. They argued that one of the best things 
about my system was the fact that it was not long drawn out, that 
it had only a few lessons to be studied, that people who wanted to 
learn to dance, wanted to learn quickly and not have to wait for 
results . One of these students even suggested the name “Short 
cuts to Dancing.” 

I began to think that perhaps they were right—that perhaps my 
readers would not measure the value of instruction by the number 
of lessons given, that the system was what counted the most and 
the number of lessons did not matter. Results from advertising 
have proven this the case. “Short cuts to Dancing” is successful 
and for which I can thank many former pupils who saw its pos¬ 
sibilities even before I. Because of them, thousands may now be 
benefited as they were—it is their tribute to an individual’s honest 
effort to make dancing really easy for those who would like to 
learn. I am sincerely proud to be that individual. 

May I close this book with my best wishes for your success and 
pleasure in dancing. 


26 


Sincerely, 




LItJKHKY Uh CUNUKtbb 


0 



038 701 917 0 
































































